View allAll Photos Tagged Listing
Listed Building Grade II
List Entry Number : 1196399
Date First Listed : 13 January 1971
A house, built in 1847 and later converted into flats. It is in red brick with sandstone dressings and a slate roof. It is in 2 1⁄2 storeys, with one gabled bay facing the road, which contains a two-storey canted bay window surmounted by a balcony. On the right side is a projecting wing, with a porch in the angle, and 20th-century oriel windows on three levels.
Dr Barnardo's Memorial at Dr Barnardo's Village Home TQ 4489 13/7 II GV 2. 1908, by George Frampton. A granite exedra with tall central granite plinth supporting a bronze group of Charity. On the face of the plinth a portrait of Dr Barnardo and a charming relief of 3 girls reading. Set in the grounds of the Village Home designed by Ebeneazer Gregg and laid out between 1875-1907. Less than half the original lay-out now remains. EH Listing
St Peter
Church of England
Grade I Listed
South Aisle
Presentation in the Temple
by Charles A Gibbs
1872
This book is on my wish list. I'm copying and pasting the contact information and details here, so it will be easy to find later.
208 pages, full color, over 400 pictures, full color, high quality offset- print. Not available through book stores.Printed December, 2004. Author will autograph it, if requested.
Barbieletter@t-online.de
Victoria Baths is a Grade II* listed building, situated in the Chorlton-upon-Medlock area of Manchester, in Northwest England. The Baths opened to the public in 1906 and cost £59,144 to build. Manchester City Council closed the baths in 1993 and the building was left derelict. A multi-million pound restoration project began in 2007.
The baths were designed by the City Surveyor, T. de Courcy Meade, and his assistant, Arthur Davies. The work was supervised by Henry Price, the newly appointed city architect. The baths were opened in September 1906 by the Lord Mayor of Manchester who described the building as a "water palace". For 86 years the Baths provided essential leisure facilities. Private baths and a laundry were housed there along with three swimming pools and a Turkish bath. The main swimming pool was floored over in the winter months to hold dances. In 1952 the Victoria Baths installed the first public Aeratone (jacuzzi) in the country.
In the design and construction of the Baths, a great deal of money was expended, Manchester having at that time one of the world's wealthiest municipal coffers. The façade has multi-coloured brickwork and terracotta decoration, the main interior public spaces are clad in glazed tiles from floor to ceiling and most of the many windows have decorative stained glass.
The Baths were closed by Manchester City Council in 1993. The Friends of Victoria Baths was formed and began to investigate the possibility of running the Victoria Baths independently.
Various fund-raising attempts failed to bring about a restoration of the Baths, although work to prevent further deterioration of the building started in 1998
n September 2003, the Baths won the first series of the BBC's Restoration programme. The building was chosen by a public phone-vote from a short-list of ten buildings in danger of dereliction in the UK. It was awarded £3.4 million from the Heritage Lottery Fund and the money raised through the phone-voting process. The Prince of Wales visited the baths a month later to help celebrate the win.
It was intended that the money would be spent on re-opening the Turkish bath by around 2006, with other parts following later at a cost of around £15–20m. However, the redevelopment plans were dealt a blow one year later when quantity surveyors delivered a much larger estimate of £6.3m to restore the Turkish baths. The Heritage Lottery Fund requested further details about the full redevelopment before they would hand over any money for the first phase. Final planning approval to begin a restoration process was not received until September 2005.
In September 2006, as part of a number of events to mark the centenary of the building's opening, the gala pool was filled for the first time in 13 years.
The first phase of restoration work consisting of structural work and repairs began on Monday 19 March 2007, and was completed in September 2008. In 2011 the Baths were used as a filming location, a concert venue, and an exhibition centre.
I was given access to the factory in Dursley in November 2008 and took this selection, showing the various stages of the assembly of the renowned Lister Diesel engines.
03/06/2010 - The Daily Shoot
#ds11
Lists guide an eye in a linear way: menus, recipes, etc. As you're out and about today, find a list and make a photo.
My Mother-in-law's grocery list.
© A-Lister Photography. All rights reserved.
DO NOT BLOG, TWEET, TUMBLR, FACEBOOOK or redistribute my photographs in any form, in any media without my written permission.
.
"A wet, muddy footpath in the countryside viewed across wet, coloured autumn leaves... walkers can be seen enjoying a break in the weather..!"
Check Out My SEPT/OCT New Images!
www.flickr.com/photos/81861182@N03/sets/72157635937910485
Check out my AUTUMN SET!
www.flickr.com/photos/81861182@N03/sets/72157634475747721...
Please use the Getty Images “Request to License” link found in “Additional Info”.
(Bday/470)
Listed Building Grade II
List Entry Number : 1361648
Date First Listed : 25 July 1952
The 18th century stocks stand outside the churchyard wall of St Anne's Church. They consist of two stone posts with round heads containing restored wooden rails with holes for two pairs of legs. The right hand post carries an inscription.
I was given access to the factory in Dursley in November 2008 and took this selection, showing the various stages of the assembly of the renowned Lister Diesel engines.
For some time now Mr Fox has suspected the worst... something so awful he hoped it couldn't be true....but today came the proof.
Santa's gone senile! The annual Naughty List was published and Mrs PB's name was on it. It's a well known secret that polar bears don't go on the naughty list. They are not the kind of bear you want to tell they're not getting a Christmas present!
However, if this wasn't enough, even more compelling evidence that Father Christmas had gone doo-lally came when they read the rest of the list;
Mr Shaun
Seamus (and not Shortbread)
Miss Lemuriana
Teddy
The Land of the Couch
Mrs Aaberg
Mr Jube
Mr Theodore
Mr Flt. Lt. Bear
Mrs Emily
Big Momma
Miss Hatts
Miss Doko
Uncle Jago
None will be getting presents.
It was all a bit too much for Mrs PB; whose shrieks in disgust could be heard resonating.
While consoling his distraught, and now rather angry polar bear, you could tell Mr Fox was already hatching a plan...
The question is - will he be able to save Christmas!
Their first three full-length albums are examples of the death/doom style, although the latter two incorporated some melodic and gothic elements. However, with the release of the albums Icon (1993) and Draconian Times (1995), Paradise Lost also became known as pioneers of the gothic metal subgenre. In accordance with the change in musical approach, vocalist Nick Holmes changed his singing style. He used a death grunt on the band's first three albums, but on Icon refined his voice to have a cleaner tone. Later (circa 1997), the band began experimenting with electronic styles but after four albums reverted again to gothic metal.
Their line-up has remained stable for such a long-standing heavy metal band, consisting of singer Nick Holmes, guitarists Greg Mackintosh and Aaron Aedy, and bassist Steve Edmondson. Holmes and Mackintosh are the principal composers, with almost all of the band's songs credited to them. During the years, the band has only changed drummers, with original member Matthew Archer replaced in 1994 by ex-Marshall Law drummer Lee Morris In March 2004, Morris left the band. Jeff Singer took Morris' place and has played on all subsequent releases, though he was not listed as a permanent band member until the release of the single "The Enemy" in 2007. In a recent video interview, Mackintosh and Holmes revealed that Singer had already auditioned for the band when Archer left, but they chose Morris instead because "[Singer] had a pink drumkit"
Keble Chapel
Church of St Peter, Hinton Road, Bournemouth
Grade I Listed
List Entry Number: 1153014
Listing NGR: SZ0888791218
Details
101756 768/13/1 HINTON ROAD 11-OCT-01 (East side) CHURCH OF ST PETER
GV I
13/1 HINTON ROAD 1. 5l86 (East Side) Church} of St Peter
SZ 0891 13/1 5.5.52.
I GV
2. South aisle 1851, Edmund Pearce, rest of church, 1855-79, G E Street, large, Purbeck stone with Bath stone dressings, built in stages and fitted out gradually. Dominating west tower, 1869, and spire (important landmark, 202 ft high), 1879: west door up steps with 4-light Geometrical window over, 3rd stage with steeply pointed blind arcade with encircled quatrefoils in spandrels, belfry with paired 2-light windows, elaborate foliage-carved cornice and arcaded panelled parapet, spire of Midlands type, octagonal with 3 tiers of lucarnes and flying buttresses springing from gabled pinnacles with statues (by Redfern) in niches. Western transepts with 4-light Geometrical windows, 1874. Nave, 1855-9, has clerestory of 5 pairs of 2-light plate tracery windows between broad flat buttresses, with red sandstone bands to walls and voussoirs and foliage medallions in spandrels. North aisle has narrow cinquefoiled lancets, Pearce's south aisle 2-light Geometrical windows (glass by Wailes, 1852-9); gabled south porch with foliage-carved arch of 3 order and inner arcade to lancet windows. South transept gable window 4-light plate tracery, south-east sacristy added 1906 (Sir T G Jackson). North transept gable has 5 stepped cinquefoiled lancets under hoodmould, north-east vestries, built in Street style by H E Hawker, 1914-15, have 2 east gables. Big pairs of buttresses clasp corners of chancel, with 5-light Geometrical window- south chapel. Nave arcade of 5 bays, double-chamfered arches on octagonal colunms, black marble colonnettes to clerestory. Wall surfaces painted in 1873-7 by Clayton and Bell, medallions in spandrels, Rood in big trefoil over chancel arch, roof of arched braces on hammerbeams on black marble wall shafts, kingposts high up. North aisle lancets embraced by continuous trefoil-headed arcade on marble colonnettes, excellent early glass by Clayton and Bell, War Shrine Crucifix by Comper, l917. Western arch of nave of Wells strainer type with big openwork roundels in spandrels. Tower arch on piers with unusual fluting of classical type, glass in tower windows by Clayton and Bell. South-west transept has font by Street, 1855, octagonal with grey marble inlay in trefoil panels, south window glass by Percy Bacon, 1896. Chancel arch on black shafts on corbels, low marble chancel screen with iron railing. Pulpit, by Street, carved by Earp, exhibited 1862 Exhibition: circular, pink marble and alabaster with marble-oolumned trefoil-headed arcaded over frieze of inlaid panels, on short marble columns, tall angel supporting desk. Lectern: brass eagle 1872 (made by Potter) with railings to steps by Comper, 1915. Chancel, 1863-4, has 2-bay choir has elaborate dogtooth and foliage-carved arches on foliage capitals, with clustered shafts of pink marble and stone, sculptured scenes by Earp in cusped vesica panels in spandrels, pointed boarded wagon roof with painted patterning by Booley and Garner, 1891. Choir stalls with poppyheads, 1874, by Street, also by Street (made by Leaver of Maidenhead) the ornate and excellent parclose screens of openwork iron on twisted brass colunms, pavement by Comper, l9l5. Sanctuary, also 2 bays, rib-vaulted, with clustered marble wall shafts with shaft rings and foliage capitals, painted deocrations by Sir Arthur Blomfield, 1899 (executed by Powells). First bay has sedilia on both sides (within main arcade), backed by double arcade of alternating columns of pink alabaster (twisted)and black marble. Second bay aisleless, lined by Powell mosaics. East window has fine glass by Clayton and Bell, designed by Street, 1866. Reredos by Redfern, also designed by Street has Majestas in vesica flanked by angels, under gabled canopies, flanked by purple and green twisted marble columns, flanking Powell mosaics of angels, 1899, echoing design of predecessors by Burne-Jones which disintegrated. North transept screen to aisle by Comper, 1915, Minstrel Window by Clayton and Bell, 1874, sculpture of Christ and St Peter over doorway by Earp. South transept screen to aisle and altar cross and candlesticks to chapel by Sir T G Jackson, l906, murals by Heaton, Butler and Bayne, 1908, windows in transept and over altar by Clayton and Bell, 1867, and to south of chapel (particularly good) by Morris, Marshall, Faulkner and Co, 1864.
The Church of St Peter, Churchyard Cross, Lychgate, Chapel of the Resurrection, and 2 groups of gravestones form a group.
Listing NGR: SZ0888791218
historicengland.org.uk/listing/the-list/list-entry/1153014
St Peter's church in the centre of Bournemouth, Dorset; one of the great Gothic Revival churches of the 19th century and now serving as the parish church of Bournemouth. On the site of a plain, slightly earlier church, this building was commissioned by the priest, Alexander Morden Bennett, who moved to the living from London in 1845.
In 1853 Bennett chose George Edmund Street, architect of the London Law Courts, to design the proposed new church. The church grew stage by stage and Street in turn commissioned work from some of the most famous names of the era, including Burne-Jones, George Frederick Bodley, Sir Ninian Comper, William Wailes and Thomas Earp. There is even one small window by William Morris.
www.youtube.com/watch?v=qUmRhwNGzS8
Christmas Special: The Naughty List with Derpy Hooves & Snowcatcher
Derpy discovers she is on Santa’s naughty list! A normal pony would clean up her act, but fortunately Derpy is definitely not normal. Such “slander” requires a chaotic trip to the North Pole.
The two bays of the sanctuary have a quadripartite vaulted roof of Bath and Ham Hill stone. The frescos were designed by George Frederick Bodley and executed by Powell & Sons, Whitefriars.
Church of St Peter, Hinton Road, Bournemouth
Grade I Listed
List Entry Number: 1153014
Listing NGR: SZ0888791218
Details
101756 768/13/1 HINTON ROAD 11-OCT-01 (East side) CHURCH OF ST PETER
GV I
13/1 HINTON ROAD 1. 5l86 (East Side) Church} of St Peter
SZ 0891 13/1 5.5.52.
I GV
2. South aisle 1851, Edmund Pearce, rest of church, 1855-79, G E Street, large, Purbeck stone with Bath stone dressings, built in stages and fitted out gradually. Dominating west tower, 1869, and spire (important landmark, 202 ft high), 1879: west door up steps with 4-light Geometrical window over, 3rd stage with steeply pointed blind arcade with encircled quatrefoils in spandrels, belfry with paired 2-light windows, elaborate foliage-carved cornice and arcaded panelled parapet, spire of Midlands type, octagonal with 3 tiers of lucarnes and flying buttresses springing from gabled pinnacles with statues (by Redfern) in niches. Western transepts with 4-light Geometrical windows, 1874. Nave, 1855-9, has clerestory of 5 pairs of 2-light plate tracery windows between broad flat buttresses, with red sandstone bands to walls and voussoirs and foliage medallions in spandrels. North aisle has narrow cinquefoiled lancets, Pearce's south aisle 2-light Geometrical windows (glass by Wailes, 1852-9); gabled south porch with foliage-carved arch of 3 order and inner arcade to lancet windows. South transept gable window 4-light plate tracery, south-east sacristy added 1906 (Sir T G Jackson). North transept gable has 5 stepped cinquefoiled lancets under hoodmould, north-east vestries, built in Street style by H E Hawker, 1914-15, have 2 east gables. Big pairs of buttresses clasp corners of chancel, with 5-light Geometrical window- south chapel. Nave arcade of 5 bays, double-chamfered arches on octagonal colunms, black marble colonnettes to clerestory. Wall surfaces painted in 1873-7 by Clayton and Bell, medallions in spandrels, Rood in big trefoil over chancel arch, roof of arched braces on hammerbeams on black marble wall shafts, kingposts high up. North aisle lancets embraced by continuous trefoil-headed arcade on marble colonnettes, excellent early glass by Clayton and Bell, War Shrine Crucifix by Comper, l917. Western arch of nave of Wells strainer type with big openwork roundels in spandrels. Tower arch on piers with unusual fluting of classical type, glass in tower windows by Clayton and Bell. South-west transept has font by Street, 1855, octagonal with grey marble inlay in trefoil panels, south window glass by Percy Bacon, 1896. Chancel arch on black shafts on corbels, low marble chancel screen with iron railing. Pulpit, by Street, carved by Earp, exhibited 1862 Exhibition: circular, pink marble and alabaster with marble-oolumned trefoil-headed arcaded over frieze of inlaid panels, on short marble columns, tall angel supporting desk. Lectern: brass eagle 1872 (made by Potter) with railings to steps by Comper, 1915. Chancel, 1863-4, has 2-bay choir has elaborate dogtooth and foliage-carved arches on foliage capitals, with clustered shafts of pink marble and stone, sculptured scenes by Earp in cusped vesica panels in spandrels, pointed boarded wagon roof with painted patterning by Booley and Garner, 1891. Choir stalls with poppyheads, 1874, by Street, also by Street (made by Leaver of Maidenhead) the ornate and excellent parclose screens of openwork iron on twisted brass colunms, pavement by Comper, l9l5. Sanctuary, also 2 bays, rib-vaulted, with clustered marble wall shafts with shaft rings and foliage capitals, painted deocrations by Sir Arthur Blomfield, 1899 (executed by Powells). First bay has sedilia on both sides (within main arcade), backed by double arcade of alternating columns of pink alabaster (twisted)and black marble. Second bay aisleless, lined by Powell mosaics. East window has fine glass by Clayton and Bell, designed by Street, 1866. Reredos by Redfern, also designed by Street has Majestas in vesica flanked by angels, under gabled canopies, flanked by purple and green twisted marble columns, flanking Powell mosaics of angels, 1899, echoing design of predecessors by Burne-Jones which disintegrated. North transept screen to aisle by Comper, 1915, Minstrel Window by Clayton and Bell, 1874, sculpture of Christ and St Peter over doorway by Earp. South transept screen to aisle and altar cross and candlesticks to chapel by Sir T G Jackson, l906, murals by Heaton, Butler and Bayne, 1908, windows in transept and over altar by Clayton and Bell, 1867, and to south of chapel (particularly good) by Morris, Marshall, Faulkner and Co, 1864.
The Church of St Peter, Churchyard Cross, Lychgate, Chapel of the Resurrection, and 2 groups of gravestones form a group.
Listing NGR: SZ0888791218
historicengland.org.uk/listing/the-list/list-entry/1153014
St Peter's church in the centre of Bournemouth, Dorset; one of the great Gothic Revival churches of the 19th century and now serving as the parish church of Bournemouth. On the site of a plain, slightly earlier church, this building was commissioned by the priest, Alexander Morden Bennett, who moved to the living from London in 1845.
In 1853 Bennett chose George Edmund Street, architect of the London Law Courts, to design the proposed new church. The church grew stage by stage and Street in turn commissioned work from some of the most famous names of the era, including Burne-Jones, George Frederick Bodley, Sir Ninian Comper, William Wailes and Thomas Earp. There is even one small window by William Morris.